Sostenuto vs Indidivual sustain

[Clark]

Mr. Moody;

I have utilized an effect similar to that which you describe upon a
number of extant pianos, although my preliminary searches of patent
records have uncovered but little and I cannot ascertain whether it is
intentional or simply a trick of chance (a friend to all inventors!)
arrangement to certain traditional action parts. Properly regulated, and
forgive me for withholding the specifics of this adjustment and which I
believe to have come to understand in all the intricacies of its moving
components, one manner by which the dampers in some these instruments
may be manipulated is by the action of the key stick, in fact and only
for those that are selected - whether or not to sound; the duration of
this effect likewise is controlled through the key, whereby to disengage
a specific damper, the key is permitted to return to its rest position -
typically assisted by gravity, though possibly by weights or springs -
and in such a fashion, numerous musical effects are permitted, for
instance were each of a set of selected and sounding keys released at,
or very nearly at the same instant, depending on the efficiency in the
damping system, and its individual damping units, each of the
aforementioned sustained notes likewise will cease to sound at, or very
nearly at the same time and which enables the musician to introduce new
harmonies quite distinct of those now which have been left but as
memories to an impression. As you noted in your proposal, a similar
effect may be accomplished by use of the sostenuto mechanism, to my
knowledge always actuated by a pedal system, and yet which illustrates
the advantage of the system to which I refer, for where the sostenuto
mechanism is limited solely to this effect, that of the simultaneous
damping to selected notes, this other system - as you have alluded, an
"individual sustain" system - permits as simply, arguably more simply,
and elegantly the _selective_ damping of notes previously engaged by the
key and subsequently disengaged by the same. As such, and without the
supplementary mechanism necessary to the sostenuto (as I have just shown
- see above - which may only duplicate one of the effects possible to
this more selective invention) an intentional embodiment need not thus
be limited to instruments fitted for the sostenuto, but might be applied
to all manners of keyboard instruments: not exclusively, clavichords, 
virginals, harpsichords, horizontal and upright pianofortes, organs, and
even the emerging electrical instruments, or any combinations of these -
indeed, the wondrous effects this innovation avails should be applied to
any and all devices that bring the marvels of music to the refined ear. 

Humbly yours,


Crank Panaccione, inventor